1 00:00:00,320 --> 00:00:03,760 Speaker 1: You're listening to KFI AM six forty on demand. 2 00:00:04,960 --> 00:00:07,200 Speaker 2: But it is Friday night in Los Angeles. We are 3 00:00:07,240 --> 00:00:10,800 Speaker 2: just a few minutes past nine o'clock. It is music time. 4 00:00:12,039 --> 00:00:13,880 Speaker 2: We're gonna go a little still with the movies, but 5 00:00:13,880 --> 00:00:16,479 Speaker 2: we're getting into music here real soon in studio with 6 00:00:16,600 --> 00:00:19,520 Speaker 2: music man Jack from Rivera, who is a producer at 7 00:00:19,520 --> 00:00:22,520 Speaker 2: The Voice, who joins us every Friday to talk about music. 8 00:00:22,720 --> 00:00:27,320 Speaker 2: And you're also, I would say, an encyclopedia of music knowledge, 9 00:00:27,440 --> 00:00:29,000 Speaker 2: much in the way that mister Mark Ronner is an 10 00:00:29,160 --> 00:00:35,440 Speaker 2: encyclopedic knowledge base for the movies. I thank you. I mean, 11 00:00:35,520 --> 00:00:37,280 Speaker 2: I just happen to be a fan. What can I say? 12 00:00:37,880 --> 00:00:40,680 Speaker 2: You really are a huge fan, and you truly love music, 13 00:00:40,720 --> 00:00:42,920 Speaker 2: and you've always we've known each other since Scott, I 14 00:00:42,920 --> 00:00:45,520 Speaker 2: think we were fifteen years old probably, and you've always 15 00:00:45,560 --> 00:00:49,320 Speaker 2: just been so in love with the craft of music, 16 00:00:49,320 --> 00:00:51,920 Speaker 2: which I know sounds almost like who doesn't like music, 17 00:00:51,960 --> 00:00:57,240 Speaker 2: but you really do in a way that is it's 18 00:00:57,360 --> 00:01:00,240 Speaker 2: very like holistic the way that you like it. Thank you. 19 00:01:00,320 --> 00:01:01,600 Speaker 2: I like the nitty gritty details. 20 00:01:01,680 --> 00:01:03,560 Speaker 3: Yeah, And like we have known each other for a while, 21 00:01:03,560 --> 00:01:05,600 Speaker 3: and what we would be doing is just talking music anyway, 22 00:01:05,680 --> 00:01:07,000 Speaker 3: So like that's what, just do it on the air. 23 00:01:07,080 --> 00:01:12,000 Speaker 2: That's true, and I'm not I can't pay you, so wait, yeah, 24 00:01:12,120 --> 00:01:14,200 Speaker 2: I gotta sorry to go. So Mark Ronner, I want 25 00:01:14,200 --> 00:01:16,400 Speaker 2: to ask you as well on this next story. Do 26 00:01:16,440 --> 00:01:18,240 Speaker 2: you guys ever go to Alamo Draft House? Have you 27 00:01:18,240 --> 00:01:19,680 Speaker 2: ever been? Are you part of that scene or No? 28 00:01:19,880 --> 00:01:22,000 Speaker 4: I haven't yet. But they show some older stuff like 29 00:01:22,040 --> 00:01:24,120 Speaker 4: they had Donna the Dead there a while back, and 30 00:01:24,280 --> 00:01:26,080 Speaker 4: I really have been wanting to go, just haven't had 31 00:01:26,120 --> 00:01:26,440 Speaker 4: the chance. 32 00:01:26,640 --> 00:01:28,280 Speaker 2: Yeah, I would like to as well. I have not either. 33 00:01:28,319 --> 00:01:30,800 Speaker 2: Have you been, Jack? It's basically a movie theater where. 34 00:01:31,040 --> 00:01:34,200 Speaker 3: You I am familiar with it, but I have not 35 00:01:34,319 --> 00:01:36,240 Speaker 3: actually been to it. I've heard people talk about it. 36 00:01:36,319 --> 00:01:38,600 Speaker 2: Yeah, I've nember been this one in downtown LA at 37 00:01:38,600 --> 00:01:43,160 Speaker 2: the Block, which is a mall down there, and essentially 38 00:01:43,200 --> 00:01:45,840 Speaker 2: I think it's kind of become the movie theater for 39 00:01:46,120 --> 00:01:52,800 Speaker 2: cinophiles because they've had a lot of rules about you 40 00:01:52,800 --> 00:01:56,120 Speaker 2: can't use your phone, you can't be scrolling and you're 41 00:01:56,200 --> 00:01:58,600 Speaker 2: texting and okay, but so same crowd as the New 42 00:01:58,600 --> 00:02:02,280 Speaker 2: Beverly Yeah, perhaps, but they'd have food, so maybe that 43 00:02:02,360 --> 00:02:04,000 Speaker 2: is I mean, if you're real purist. I don't think 44 00:02:04,040 --> 00:02:06,960 Speaker 2: you're I don't think you're eating at the movies. But 45 00:02:07,040 --> 00:02:09,000 Speaker 2: now that movies are four hours long, I guess it 46 00:02:09,040 --> 00:02:13,080 Speaker 2: makes a lot of sense. But they are are at 47 00:02:13,160 --> 00:02:16,040 Speaker 2: least in the news because it used to be that 48 00:02:16,080 --> 00:02:18,600 Speaker 2: when you would order food, you would scribble what you 49 00:02:18,639 --> 00:02:20,360 Speaker 2: wanted on a little piece of paper, and the waiter 50 00:02:20,400 --> 00:02:23,560 Speaker 2: would would slide by, quietly pick up the pace of 51 00:02:23,560 --> 00:02:26,640 Speaker 2: paper and then and then walk away. And now Alamo 52 00:02:26,720 --> 00:02:29,840 Speaker 2: wants people to have wants people to order on their phones, 53 00:02:31,240 --> 00:02:33,560 Speaker 2: which is completely antithetical to the whole point of what 54 00:02:33,600 --> 00:02:36,560 Speaker 2: Alamo was, or have in your phone. So it makes 55 00:02:36,600 --> 00:02:39,120 Speaker 2: things more efficient, obviously, But people who really like this 56 00:02:39,240 --> 00:02:44,920 Speaker 2: place are outraged, saying that it detracts from the whole experience. 57 00:02:45,080 --> 00:02:50,720 Speaker 2: Oh yeah, Alamo says it's less distracting. Of course, nobody agrees. 58 00:02:51,080 --> 00:02:54,639 Speaker 2: Actor Elijah Woods says a movie complete a move rather 59 00:02:54,639 --> 00:02:57,200 Speaker 2: completely antithetical to the ethos of the Alamo and to 60 00:02:57,240 --> 00:03:00,560 Speaker 2: those who love the theatrical experience they provide. He says, 61 00:03:01,040 --> 00:03:05,920 Speaker 2: this is a profound and upsetting mistake. How is that 62 00:03:05,960 --> 00:03:06,880 Speaker 2: for a hill to die on? 63 00:03:07,560 --> 00:03:09,680 Speaker 4: There was viral footage a couple of weeks ago of 64 00:03:09,720 --> 00:03:12,040 Speaker 4: a guy getting thrown out of the New Beverly four 65 00:03:12,120 --> 00:03:15,280 Speaker 4: having his phone out, and the standoff lasted a good 66 00:03:15,320 --> 00:03:18,919 Speaker 4: long time and the whole crowd was against this dude. 67 00:03:20,240 --> 00:03:22,600 Speaker 4: This is a terrible move. Yeah by Alamo. 68 00:03:22,840 --> 00:03:24,639 Speaker 2: It's tough. And and you know what, I'll go back 69 00:03:24,680 --> 00:03:26,880 Speaker 2: to being a kid. I know they say, you know 70 00:03:26,919 --> 00:03:29,880 Speaker 2: one of the wasn't one of the ten commandments? Don't 71 00:03:29,919 --> 00:03:32,400 Speaker 2: speak ill of your mother, Well, at least don't speak 72 00:03:32,400 --> 00:03:35,320 Speaker 2: ill of your parents. So I apologize. My mom, love 73 00:03:35,360 --> 00:03:38,120 Speaker 2: her so much. Used to take us to movies that 74 00:03:38,200 --> 00:03:41,280 Speaker 2: were kids' movies, and she didn't like them. They were 75 00:03:41,320 --> 00:03:44,200 Speaker 2: for us, but she went anyway, and she would be 76 00:03:44,240 --> 00:03:45,760 Speaker 2: bored out of her skull. We went to I think 77 00:03:45,800 --> 00:03:48,600 Speaker 2: see the Rocky and Bullwinkle movie with Piper Perabo. Okay, 78 00:03:49,040 --> 00:03:53,840 Speaker 2: and and she brought a book with a book light. 79 00:03:55,160 --> 00:03:58,840 Speaker 2: That's a bold move in the movie theater. That's bold. 80 00:03:58,920 --> 00:04:05,000 Speaker 2: I was like maybe nine eight, and I was so mortified. Oh, 81 00:04:05,240 --> 00:04:08,640 Speaker 2: I was like, are you kidding me? It's like you're 82 00:04:08,640 --> 00:04:11,120 Speaker 2: gonna have now. There was no one in the theater 83 00:04:11,200 --> 00:04:14,360 Speaker 2: except for us probably, But it's wild. That's wild. That's wild, 84 00:04:14,400 --> 00:04:17,800 Speaker 2: crazy stuff. But anyway, there's that it's time for some 85 00:04:17,839 --> 00:04:20,679 Speaker 2: new music for people who don't like new music. Kicking 86 00:04:20,680 --> 00:04:22,599 Speaker 2: it off here with the one and only Charlie Pooth, 87 00:04:22,640 --> 00:04:24,440 Speaker 2: who just dropped this song out of nowhere. 88 00:04:24,440 --> 00:04:26,760 Speaker 3: He loved Charlie Pooth here, we've talked about him before 89 00:04:27,400 --> 00:04:29,960 Speaker 3: and just it's a fantastic song and there's a special 90 00:04:29,960 --> 00:04:32,600 Speaker 3: guest appearance on it and it's just so perfect. 91 00:04:32,960 --> 00:04:33,239 Speaker 2: Yeah. 92 00:04:33,400 --> 00:04:36,680 Speaker 3: Apparently Charlie had put together the song and then thought 93 00:04:36,720 --> 00:04:38,640 Speaker 3: it could use a sax solo. So you know, he's 94 00:04:38,680 --> 00:04:42,760 Speaker 3: a kind of keyboard wizard himself, home studio producer. He 95 00:04:42,800 --> 00:04:45,000 Speaker 3: did like a tempt part, and then he reached out 96 00:04:45,040 --> 00:04:47,600 Speaker 3: to his network of friends like does anyone know Kenny G? 97 00:04:47,720 --> 00:04:48,800 Speaker 2: Can you track down Kenny G? 98 00:04:49,360 --> 00:04:51,120 Speaker 3: And apparently it got to Kenny G and like a 99 00:04:51,120 --> 00:04:52,640 Speaker 3: couple of weeks later, he got a text that was 100 00:04:52,720 --> 00:04:55,480 Speaker 3: like send me the song KG, and he's like, who's kidding? 101 00:04:55,560 --> 00:04:56,320 Speaker 5: Oh my god. 102 00:04:57,320 --> 00:04:59,120 Speaker 2: He sent him the song and Kenny G sent that 103 00:04:59,160 --> 00:05:02,520 Speaker 2: back to him. Perfect. It works so well for the song. Ah, 104 00:05:02,520 --> 00:05:03,760 Speaker 2: that's a great story. 105 00:05:03,920 --> 00:05:05,799 Speaker 4: This is a song you would hear during a falling 106 00:05:05,880 --> 00:05:08,920 Speaker 4: in love montage on the Old Silk Stalkings TV show. 107 00:05:10,040 --> 00:05:13,599 Speaker 2: I heard somebody comment or saw somebody comment on the 108 00:05:14,200 --> 00:05:17,400 Speaker 2: Olivia Dean song man, I need that like a great song, 109 00:05:17,440 --> 00:05:19,640 Speaker 2: but this all sounds like what they play in Walgreens. 110 00:05:19,880 --> 00:05:21,120 Speaker 2: And once I heard that, I was like, oh, that 111 00:05:21,240 --> 00:05:24,040 Speaker 2: is such a specific kind of song, and I think 112 00:05:24,040 --> 00:05:25,440 Speaker 2: this is sort of one of those songs for sure, 113 00:05:25,440 --> 00:05:28,640 Speaker 2: but very cool stuff. Big fan of Charlie Pooth and 114 00:05:28,680 --> 00:05:33,040 Speaker 2: I like that's he's really all about the production for sure. 115 00:05:33,160 --> 00:05:33,440 Speaker 4: For sure. 116 00:05:33,440 --> 00:05:35,640 Speaker 2: I'm really excited for the new album. All right, coming up, 117 00:05:35,680 --> 00:05:38,120 Speaker 2: We've got more new music Friday here for people who 118 00:05:38,160 --> 00:05:42,440 Speaker 2: don't like new music from how about this? Lights the 119 00:05:42,520 --> 00:05:47,719 Speaker 2: Canadian and Oh Everybody's Favorite LA's Golden Boy, Morrissey six, 120 00:05:48,400 --> 00:05:51,560 Speaker 2: you know, Sabrina Carpenter's on The Muppets Show the reboot. 121 00:05:51,880 --> 00:05:54,000 Speaker 2: You can see it on Disney Plus, was on ABC. 122 00:05:54,240 --> 00:05:58,160 Speaker 2: I thought it was fantastic. I've not yet seen it 123 00:05:58,360 --> 00:06:03,719 Speaker 2: unchanged from the Muppets that you know and love since mcgei. 124 00:06:03,760 --> 00:06:05,800 Speaker 2: The are going on fifty years now. It looks good. 125 00:06:05,960 --> 00:06:08,320 Speaker 2: It looks like they did a good job. That's perfect. 126 00:06:08,800 --> 00:06:11,640 Speaker 2: It's just like the exact right tone. There's some great 127 00:06:11,680 --> 00:06:13,920 Speaker 2: laugh out loud moments. One of my favorite jokes of 128 00:06:13,960 --> 00:06:16,320 Speaker 2: all time, which has been done a lot is the 129 00:06:16,320 --> 00:06:20,400 Speaker 2: Statler and Waldorf. This show isn't half bad, Nope, it's 130 00:06:20,440 --> 00:06:24,560 Speaker 2: all bad. They do that, which is just like such 131 00:06:24,560 --> 00:06:27,880 Speaker 2: a joy. And Sabrina Carpenter a muppet herself a bit, 132 00:06:28,760 --> 00:06:30,680 Speaker 2: she's fantastic in it as well, So very fun. Continue 133 00:06:30,720 --> 00:06:32,680 Speaker 2: on New Music Friday for people who don't like new 134 00:06:32,760 --> 00:06:38,080 Speaker 2: music with voice producer Jack Primavera, Hello, Hello, Hello. Morrissey 135 00:06:38,160 --> 00:06:39,880 Speaker 2: is next on our list. Set this up for us. 136 00:06:40,240 --> 00:06:43,880 Speaker 3: So this is a new song that was released this week, 137 00:06:43,920 --> 00:06:46,440 Speaker 3: but he's been performing it for a while actually, And 138 00:06:46,520 --> 00:06:49,760 Speaker 3: it's a topical many years ago of. 139 00:06:49,640 --> 00:06:53,440 Speaker 2: The not the you know, sure topical at a time. 140 00:06:53,360 --> 00:06:55,880 Speaker 3: At a time of the Note to Dame Cathedral fire 141 00:06:56,320 --> 00:07:00,640 Speaker 3: and right, yeah twenty nineteen. Such a sad thing story 142 00:07:00,680 --> 00:07:04,280 Speaker 3: when that broke out. But yeah, and the song's very 143 00:07:04,320 --> 00:07:06,960 Speaker 3: like synth heavy and driven. You know, Morrissey's voice is 144 00:07:07,200 --> 00:07:11,000 Speaker 3: Morrissey's voice, You cannot you just know it when you 145 00:07:11,040 --> 00:07:11,840 Speaker 3: hear it. 146 00:07:11,840 --> 00:07:12,760 Speaker 2: It's pretty fun track. 147 00:07:13,800 --> 00:07:17,200 Speaker 1: You're listening to KFI AM six forty on demand. 148 00:07:21,560 --> 00:07:24,440 Speaker 2: Okay, I was not aware that there's a conspiracy about 149 00:07:24,960 --> 00:07:25,800 Speaker 2: the fire. 150 00:07:25,960 --> 00:07:28,960 Speaker 3: And I didn't know until this specific song, but apparently 151 00:07:29,000 --> 00:07:32,120 Speaker 3: there's a conspiracy about it, and there's controversy with this song, 152 00:07:32,160 --> 00:07:34,840 Speaker 3: and I'm doing air quotes on that. That last line 153 00:07:34,880 --> 00:07:37,800 Speaker 3: we heard was him saying before investigations they said. 154 00:07:37,560 --> 00:07:38,760 Speaker 2: There's nothing to see here. 155 00:07:39,080 --> 00:07:41,840 Speaker 3: But when he was performing the song earlier, he had 156 00:07:41,880 --> 00:07:45,480 Speaker 3: the line before investigations, they said, it's not terrorism. So 157 00:07:45,520 --> 00:07:48,200 Speaker 3: apparently there's a conspiracy that the fire was not in 158 00:07:48,200 --> 00:07:51,280 Speaker 3: fact an accident and a terrorist or you know, arson 159 00:07:51,400 --> 00:07:53,720 Speaker 3: kind of a situation which has never been proven. 160 00:07:53,800 --> 00:07:58,480 Speaker 2: But Morrisey, Yeah, I love the Smiths, I love Morrissey. 161 00:07:58,520 --> 00:08:01,040 Speaker 2: But if he keeps saying notre day, we will not 162 00:08:01,160 --> 00:08:03,520 Speaker 2: be silent, we will not be silent. And I'm looking 163 00:08:03,520 --> 00:08:05,280 Speaker 2: at the lyrics of the song and he doesn't say 164 00:08:05,320 --> 00:08:12,920 Speaker 2: what happened? There's nothing to see her? Apparently, Ronn, what 165 00:08:12,920 --> 00:08:17,760 Speaker 2: do you think I like Morrissey? H, I don't know. 166 00:08:18,320 --> 00:08:20,880 Speaker 2: I mean people ageing and you just have to allow that. 167 00:08:21,200 --> 00:08:23,040 Speaker 2: I mean, this isn't in the same category as how 168 00:08:23,040 --> 00:08:25,520 Speaker 2: soon is now or anything like that, for sure. 169 00:08:25,720 --> 00:08:29,080 Speaker 3: I mean there's Smith's era Morrissey and then the first 170 00:08:29,160 --> 00:08:31,080 Speaker 3: two solo era Morrissey. 171 00:08:31,080 --> 00:08:32,559 Speaker 2: Those first two records you have. 172 00:08:32,480 --> 00:08:34,680 Speaker 4: To allow people age like I still love Paul Weller, 173 00:08:34,760 --> 00:08:36,319 Speaker 4: but his stuff isn't going to be the same as 174 00:08:36,320 --> 00:08:37,120 Speaker 4: it was in the eighties. 175 00:08:38,840 --> 00:08:42,640 Speaker 2: And to be fair, this charming man is only sixty 176 00:08:42,679 --> 00:08:44,839 Speaker 2: six years old. I mean the guy himself, Morris, he's 177 00:08:44,880 --> 00:08:47,920 Speaker 2: only sixty six. Well, you know what I mean. It's 178 00:08:47,960 --> 00:08:50,720 Speaker 2: not like I mean, sure, it's he's not a young 179 00:08:50,760 --> 00:08:54,360 Speaker 2: man anymore. But I don't know. And listen, like I'm 180 00:08:54,400 --> 00:08:56,920 Speaker 2: all about if you know the story and you've got 181 00:08:56,960 --> 00:08:59,040 Speaker 2: a platform and you want to have your voice be heard. 182 00:08:59,440 --> 00:09:01,360 Speaker 2: I'm just surprised he didn't say what happened in it. 183 00:09:01,400 --> 00:09:04,679 Speaker 2: But maybe that's artistic choice, its artistic license. Perhaps I 184 00:09:04,760 --> 00:09:07,680 Speaker 2: don't know for sure. This is an interesting song. It 185 00:09:07,720 --> 00:09:10,680 Speaker 2: is by an artist called Dylan Davidson, and it takes 186 00:09:10,760 --> 00:09:15,680 Speaker 2: us back to the early two thousands. The Ryan cabreras 187 00:09:16,679 --> 00:09:20,680 Speaker 2: the the who Else was popular during this era. Jason Moraz, 188 00:09:20,800 --> 00:09:23,160 Speaker 2: I think, yeah, that sounds about right. This is a 189 00:09:23,200 --> 00:09:30,040 Speaker 2: song that I I don't well, let's just listen. Perhaps 190 00:09:30,440 --> 00:09:32,440 Speaker 2: I'll turn it up. I think that would be helpful 191 00:09:32,480 --> 00:09:35,760 Speaker 2: if I this is my fault. It truly sounds like 192 00:09:35,800 --> 00:09:38,320 Speaker 2: it would have been in One Tree Hill or something 193 00:09:38,400 --> 00:09:41,760 Speaker 2: like in a teen movie on the CW the WB 194 00:09:42,080 --> 00:09:44,760 Speaker 2: back in the early two thousands. This guy, as far 195 00:09:44,760 --> 00:09:46,559 Speaker 2: as I can tell, is probably in his late teens 196 00:09:46,600 --> 00:09:48,920 Speaker 2: early twenties, which means that this is the kind of 197 00:09:49,000 --> 00:09:51,680 Speaker 2: music that was made before he was born. To me, 198 00:09:51,720 --> 00:09:53,480 Speaker 2: it feels like just yesterday. For sure. 199 00:09:53,520 --> 00:09:55,600 Speaker 3: If I'm getting weird, like remember life House, Life House, 200 00:09:55,600 --> 00:09:57,400 Speaker 3: I would just say it's very life House. 201 00:09:57,520 --> 00:09:59,040 Speaker 2: Yeah, that was a cool That was a cool bit 202 00:09:59,200 --> 00:10:01,680 Speaker 2: exactly what I was thinking. That was some neat music. 203 00:10:02,160 --> 00:10:04,360 Speaker 2: But it's interesting to hear this come back because I 204 00:10:05,480 --> 00:10:07,360 Speaker 2: you know, there's there are a lot of conversations about 205 00:10:07,400 --> 00:10:11,880 Speaker 2: like indies, slas and all these genres of music that 206 00:10:12,800 --> 00:10:16,600 Speaker 2: they now have names for retroactively. 207 00:10:15,920 --> 00:10:17,640 Speaker 3: Right, And you know, we were just talking about Charlie 208 00:10:17,640 --> 00:10:20,280 Speaker 3: Pooth kind of going back to like you know, seventies era, 209 00:10:20,360 --> 00:10:22,719 Speaker 3: late eighties, and you know that style of music. We 210 00:10:23,040 --> 00:10:25,520 Speaker 3: know that that era of music is replicated a lot 211 00:10:25,600 --> 00:10:27,480 Speaker 3: John Mayer soabrock. But it's kind of cool to hear 212 00:10:27,520 --> 00:10:30,560 Speaker 3: like two thousands like this week being like replicated by 213 00:10:30,600 --> 00:10:31,040 Speaker 3: young UN's. 214 00:10:31,320 --> 00:10:33,520 Speaker 2: It's interesting. It is odd because I guess it's the 215 00:10:33,559 --> 00:10:35,600 Speaker 2: idea that we probably felt like this when we were 216 00:10:35,760 --> 00:10:38,120 Speaker 2: that age that what happened right before you were born 217 00:10:38,240 --> 00:10:40,600 Speaker 2: was more valuable than whatever is going on right The nostalgia, 218 00:10:40,640 --> 00:10:42,040 Speaker 2: the nostalgia of it, you know, and you look for that. 219 00:10:42,040 --> 00:10:44,200 Speaker 2: And I remember being really influenced by eighties music because 220 00:10:44,200 --> 00:10:46,600 Speaker 2: I thought, oh, that's cool, that's special. It's it's very 221 00:10:46,679 --> 00:10:48,959 Speaker 2: but but at the same time, eighties music has a 222 00:10:49,000 --> 00:10:51,120 Speaker 2: lot of imagination and cool sounds, and I think that 223 00:10:51,160 --> 00:10:53,720 Speaker 2: this era of music kind of started to get pretty 224 00:10:53,720 --> 00:10:56,040 Speaker 2: boring and pretty formulaic. So it's interesting that the kids 225 00:10:56,080 --> 00:10:59,120 Speaker 2: are going back and recreating that. Yes, for sure, but 226 00:10:59,160 --> 00:11:02,839 Speaker 2: this sounds like a a nice song. Yeah, definitely. And 227 00:11:03,120 --> 00:11:05,280 Speaker 2: when they relaunched One Tree Hill, I'm sure they'll consider 228 00:11:05,320 --> 00:11:09,760 Speaker 2: it for the the Yeah, all right, quick break when 229 00:11:09,800 --> 00:11:12,400 Speaker 2: we come back right after this. It is solo, the 230 00:11:12,440 --> 00:11:15,160 Speaker 2: solo on this Friday night. We've got bass editions, so 231 00:11:15,440 --> 00:11:17,920 Speaker 2: you get your low ends ready. This one. I might 232 00:11:17,960 --> 00:11:20,120 Speaker 2: not be as good as the other ones. You don't 233 00:11:20,120 --> 00:11:22,080 Speaker 2: think you'll know this as well because it's a little 234 00:11:22,120 --> 00:11:25,080 Speaker 2: more esoteric. Maybe we'll see. We sell myself short. But 235 00:11:25,240 --> 00:11:28,320 Speaker 2: we made the guitar solos so hard that I was 236 00:11:28,640 --> 00:11:31,760 Speaker 2: shocked that people were still getting them. And so I thought, well, 237 00:11:31,760 --> 00:11:33,040 Speaker 2: we got to change it up here and move on 238 00:11:33,120 --> 00:11:34,800 Speaker 2: somewhere else. But I was talking to Conway in the 239 00:11:34,840 --> 00:11:36,880 Speaker 2: switch over here before we started coming on the show tonight, 240 00:11:37,080 --> 00:11:38,400 Speaker 2: and he was like, I love that game. It's a 241 00:11:38,400 --> 00:11:41,120 Speaker 2: great game. And he's he was also blown away by 242 00:11:41,120 --> 00:11:43,440 Speaker 2: the fact that people all called in and they knew 243 00:11:44,440 --> 00:11:47,200 Speaker 2: the songs. They knew that they knew what the sounds were. 244 00:11:47,960 --> 00:11:51,800 Speaker 2: So like I said, get those low ends ready, Ronner, 245 00:11:51,880 --> 00:11:52,800 Speaker 2: is your low end ready? 246 00:11:52,920 --> 00:11:54,880 Speaker 4: Trying to throw some ent whistle at people? 247 00:11:55,120 --> 00:12:00,840 Speaker 2: Oh? Well, yes, and will does anyone know who that is? 248 00:12:01,000 --> 00:12:01,160 Speaker 6: Oh? 249 00:12:01,160 --> 00:12:04,679 Speaker 2: Come on? Oh oh very good. Let's do this real 250 00:12:04,760 --> 00:12:06,880 Speaker 2: quick here. As we go to break, we'll play the 251 00:12:06,880 --> 00:12:09,000 Speaker 2: first one. You can give us a call one hundred 252 00:12:09,040 --> 00:12:10,920 Speaker 2: five to zero one five three four if you know it. 253 00:12:10,920 --> 00:12:13,120 Speaker 2: We'll start off with a kind of an easy one 254 00:12:13,440 --> 00:12:15,840 Speaker 2: one hundred five to two zero one five three four. 255 00:12:15,840 --> 00:12:19,240 Speaker 2: That's one hundred five two zero one k F. I 256 00:12:20,040 --> 00:12:23,800 Speaker 2: take a listen as we solo the solo, and I 257 00:12:23,800 --> 00:12:25,600 Speaker 2: got to turn that thing back up. I keep forgetting 258 00:12:25,640 --> 00:12:27,840 Speaker 2: to turn the volume on. I shouldn't be trusted with 259 00:12:27,920 --> 00:12:38,520 Speaker 2: truly anything. But here we go. It's it's might be 260 00:12:38,520 --> 00:12:40,640 Speaker 2: too easy, but just give us a call one hundred 261 00:12:40,760 --> 00:12:44,120 Speaker 2: five two zero one five three four if you know it. 262 00:12:44,840 --> 00:12:48,439 Speaker 2: As we continue on this Friday night, we're Solo and 263 00:12:48,480 --> 00:12:48,960 Speaker 2: the Solo. 264 00:12:51,559 --> 00:12:55,000 Speaker 1: You're listening to KFI A M six forty on demand. 265 00:12:56,559 --> 00:12:59,520 Speaker 2: We are taking your calls talking about solo and the Solo. 266 00:12:59,640 --> 00:13:03,560 Speaker 2: Before we went to break, we listened to this cut 267 00:13:04,200 --> 00:13:07,679 Speaker 2: and we have a caller who is going to possibly 268 00:13:08,400 --> 00:13:13,080 Speaker 2: guess it. It's almost too easy to start with us. 269 00:13:13,160 --> 00:13:15,720 Speaker 2: It's so iconic, it's so icon it's the whole song, 270 00:13:15,800 --> 00:13:20,160 Speaker 2: you know, played with the Fender Precision bas Yeah, it's 271 00:13:20,200 --> 00:13:23,200 Speaker 2: a classic. It's like the bass. It's been on probably 272 00:13:23,360 --> 00:13:27,760 Speaker 2: ninety percent of all recorded music. And if it ain't broke, 273 00:13:27,800 --> 00:13:31,440 Speaker 2: don't fix it. Now we know who played this, right, 274 00:13:31,480 --> 00:13:33,440 Speaker 2: we'll find out we do. Yes, all right, We've got 275 00:13:33,600 --> 00:13:35,559 Speaker 2: who do we have on the line? First, Nicky, who 276 00:13:35,559 --> 00:13:39,160 Speaker 2: do we want? Should we talk to Tom? Talk to Tom? Hello? Tom, 277 00:13:39,200 --> 00:13:41,440 Speaker 2: Good evening. You're on CAF I am six forty. I 278 00:13:41,480 --> 00:13:43,959 Speaker 2: mean Andy Reesemeyer, How you doing? Tom? 279 00:13:44,600 --> 00:13:45,080 Speaker 6: All right? 280 00:13:45,640 --> 00:13:49,560 Speaker 5: And I just heard the first chords and immediately I 281 00:13:49,640 --> 00:13:53,480 Speaker 5: knew what it was. Yeah, Well, I heard so many times, 282 00:13:53,520 --> 00:13:56,480 Speaker 5: you know, I grew up with it and Motown was 283 00:13:56,559 --> 00:14:02,240 Speaker 5: extremely popular in the sixties. And know Resa Franklin, you 284 00:14:02,280 --> 00:14:07,120 Speaker 5: know the Temptations, and that was a very inspirational song, 285 00:14:07,440 --> 00:14:08,240 Speaker 5: very heartfelt. 286 00:14:08,720 --> 00:14:11,199 Speaker 2: Can you can you name it? And tell us the artist. 287 00:14:12,600 --> 00:14:16,400 Speaker 5: Carell and Marvin Gaye and no Mountain hon there it is. 288 00:14:18,080 --> 00:14:20,920 Speaker 2: It's correct, and we are not going to make you 289 00:14:20,960 --> 00:14:22,760 Speaker 2: guess the bassist, but if you know it, you get 290 00:14:22,800 --> 00:14:23,840 Speaker 2: extra bonus points. 291 00:14:26,600 --> 00:14:28,120 Speaker 6: I don't know that it's a little. 292 00:14:27,880 --> 00:14:30,240 Speaker 2: Different than like slash. You know, there's only a very 293 00:14:30,640 --> 00:14:33,680 Speaker 2: handful of people who are like that is less playpool. 294 00:14:33,760 --> 00:14:36,040 Speaker 2: You know. Jack Brovera knows who it is. 295 00:14:36,280 --> 00:14:39,480 Speaker 3: Yes, this is a member of the legendary Funk Brothers, 296 00:14:39,680 --> 00:14:41,400 Speaker 3: you know, the session players that played on a lot 297 00:14:41,400 --> 00:14:43,520 Speaker 3: of the Motown records. It's one of my favorite names. 298 00:14:43,560 --> 00:14:46,760 Speaker 3: It's James Jamersons, the bass player who's got the jam 299 00:14:46,840 --> 00:14:51,560 Speaker 3: particular track, James Jamerson's jamming. Yes, fantastic, Tom, Thank you 300 00:14:51,600 --> 00:14:53,360 Speaker 3: for calling. I want you to stay on the line 301 00:14:53,360 --> 00:14:56,800 Speaker 3: because we have another one right after this. Because we 302 00:14:56,840 --> 00:14:58,800 Speaker 3: did we kind of felt like No Mountain high Enough 303 00:14:58,840 --> 00:14:59,480 Speaker 3: was pretty easy. 304 00:14:59,680 --> 00:15:02,560 Speaker 2: So we'll have you listen to this one and tell 305 00:15:02,640 --> 00:15:05,840 Speaker 2: us if you can guess the bass here on solo 306 00:15:05,880 --> 00:15:35,800 Speaker 2: the solo. Take a listen. Any guesses, don't click. 307 00:15:35,760 --> 00:15:36,640 Speaker 5: It, don't click for me. 308 00:15:36,760 --> 00:15:39,120 Speaker 6: No, I have to be honest that No, that's a 309 00:15:39,160 --> 00:15:39,960 Speaker 6: tough one. 310 00:15:40,480 --> 00:15:40,840 Speaker 5: I know. 311 00:15:41,120 --> 00:15:44,800 Speaker 2: Yeah, it's totally totally fair. It's a very famous song. 312 00:15:45,200 --> 00:15:47,560 Speaker 2: I'll give you a hint. It's about ten years after 313 00:15:47,640 --> 00:15:51,960 Speaker 2: Motown and Jack. Do you know I thought? I thought, 314 00:15:52,040 --> 00:15:53,680 Speaker 2: I do not know the song Mark Ronnerd. Do you 315 00:15:53,720 --> 00:15:57,200 Speaker 2: know I don't have it? How about fooje? No idea. 316 00:15:57,280 --> 00:15:59,000 Speaker 2: This is a tough one and I've never heard the 317 00:15:59,000 --> 00:16:03,040 Speaker 2: bass solo before. It is a funky little bass One 318 00:16:03,080 --> 00:16:25,040 Speaker 2: more Time nineteen seventy seven. You could call it a supergroup. 319 00:16:28,920 --> 00:16:31,160 Speaker 2: It is a song that was written about one of 320 00:16:31,160 --> 00:16:37,960 Speaker 2: our landmarks here in Los Angeles, where you can check 321 00:16:38,000 --> 00:16:40,080 Speaker 2: out any time you like, but you can never leave. 322 00:16:40,200 --> 00:16:43,440 Speaker 3: Wow, I did not know I was gonna say the 323 00:16:43,480 --> 00:16:44,840 Speaker 3: Police Act. 324 00:16:44,880 --> 00:16:48,840 Speaker 2: That is the baseline of Hotel California. WHOA one more time? 325 00:16:55,920 --> 00:16:56,640 Speaker 2: Should hear it now? 326 00:16:56,720 --> 00:16:58,680 Speaker 5: Kind of yeah? 327 00:16:58,760 --> 00:17:01,560 Speaker 2: Crazy stuff. Tom, Thank you so much for calling and 328 00:17:01,560 --> 00:17:03,600 Speaker 2: playing solo in the solo. You got the first one. 329 00:17:03,640 --> 00:17:06,159 Speaker 2: That's all that matters. And as we move on, we 330 00:17:06,200 --> 00:17:09,440 Speaker 2: really appreciate you listening and play again anytime you like. 331 00:17:10,240 --> 00:17:13,760 Speaker 6: Wow, I appreciate it, all right. I just barely called it. 332 00:17:13,840 --> 00:17:15,959 Speaker 2: Yeah, very good, Very good, Tom, Thank you so much. 333 00:17:16,000 --> 00:17:16,960 Speaker 2: Hey Tom, where are you calling from? 334 00:17:18,800 --> 00:17:19,959 Speaker 5: Riverside, California? 335 00:17:20,040 --> 00:17:21,240 Speaker 2: Heck? Yeah. 336 00:17:20,840 --> 00:17:23,400 Speaker 6: And part of the reason I don't know that other 337 00:17:23,520 --> 00:17:27,359 Speaker 6: song is because I had already moved to California from Indiana, 338 00:17:27,680 --> 00:17:31,840 Speaker 6: so I just was out of the touch with the 339 00:17:31,960 --> 00:17:35,760 Speaker 6: music at that time. Yeah, there you go, and just 340 00:17:35,840 --> 00:17:40,320 Speaker 6: didn't wasn't getting the music like I had years before 341 00:17:40,359 --> 00:17:42,600 Speaker 6: in high school, listened to it all the time. 342 00:17:42,720 --> 00:17:44,760 Speaker 2: Totally. It's cool to hear a fellow Hoosier. What part 343 00:17:44,760 --> 00:17:46,120 Speaker 2: of Indiana are you from? Jack and I are both 344 00:17:46,160 --> 00:17:47,000 Speaker 2: from Indiana as well. 345 00:17:47,840 --> 00:17:49,120 Speaker 5: Oh well, you may know this. 346 00:17:49,480 --> 00:17:52,040 Speaker 6: It's pretty well known new album in the Indiana right 347 00:17:52,040 --> 00:17:53,320 Speaker 6: across from Louver, Kentucky. 348 00:17:53,400 --> 00:17:56,880 Speaker 2: Yes, definitely southern Indiana. Very good. Alrighty well, Tom, thanks 349 00:17:56,920 --> 00:17:58,919 Speaker 2: so much for calling. Call us back anytime you like. 350 00:18:00,119 --> 00:18:01,320 Speaker 5: Okay, thank you. 351 00:18:01,400 --> 00:18:04,159 Speaker 2: Next, we've got Linda on the line playing solo, the 352 00:18:04,200 --> 00:18:09,639 Speaker 2: solo Linda, where are you calling from tonight? Are you 353 00:18:09,680 --> 00:18:15,520 Speaker 2: with us? Linda? Linda might have we might have lost Linda. 354 00:18:15,560 --> 00:18:18,840 Speaker 2: Do we have Linda, Linda's up, Linda is up and 355 00:18:19,040 --> 00:18:23,560 Speaker 2: live Linda. Maybe if your phone is muted, perhaps I 356 00:18:23,600 --> 00:18:25,560 Speaker 2: hear you, Linda. It happens the best of us. Maybe 357 00:18:25,600 --> 00:18:28,159 Speaker 2: she got scared. Man, I'm afraid sometimes when I hear my, 358 00:18:28,560 --> 00:18:30,840 Speaker 2: when I think what's going on here, I get nervous. 359 00:18:31,200 --> 00:18:32,639 Speaker 2: So I understand, all right, Linda, you hang out on 360 00:18:32,960 --> 00:18:35,680 Speaker 2: the line there. In case you have a change of heart. 361 00:18:35,680 --> 00:18:38,800 Speaker 2: We'll go with Robert, who's calling from sandburd Do Robert, 362 00:18:38,800 --> 00:18:40,320 Speaker 2: what part of sand Bird? Do you calling from the 363 00:18:40,320 --> 00:18:45,359 Speaker 2: county or the city? We love it, love to hear it. 364 00:18:46,040 --> 00:18:47,719 Speaker 2: Take a listen to this next song and see if 365 00:18:47,720 --> 00:18:51,879 Speaker 2: you can guess the bassline for what song this is 366 00:18:51,920 --> 00:19:13,640 Speaker 2: on solo? The solo? What do you think? 367 00:19:16,320 --> 00:19:16,639 Speaker 5: Wow? 368 00:19:17,119 --> 00:19:19,919 Speaker 2: I can't get that one. I was actually calling on 369 00:19:19,960 --> 00:19:23,600 Speaker 2: the base line from the previous one. 370 00:19:23,640 --> 00:19:24,160 Speaker 6: I didn't know. 371 00:19:24,200 --> 00:19:26,440 Speaker 2: Someone, Yeah, somebody got are you talking about paint? No 372 00:19:26,480 --> 00:19:29,639 Speaker 2: mountain high enough? Somebody did guess it? Yeah? Or Hotel California, 373 00:19:31,080 --> 00:19:33,520 Speaker 2: Hotel California. Oh you got you knew that one. We 374 00:19:33,520 --> 00:19:37,560 Speaker 2: didn't ask who played that one? Does anyone know the basis? Oh? 375 00:19:37,640 --> 00:19:41,040 Speaker 2: I think I do? On that record, I think it 376 00:19:41,080 --> 00:19:45,800 Speaker 2: would it would have been uh uh he just tied recently, right, yeah, 377 00:19:46,119 --> 00:19:51,359 Speaker 2: Randy the last one with Randy Meiser on ther Wow, unbelievable. Okay, 378 00:19:51,440 --> 00:19:53,159 Speaker 2: so I'll play a little bit more of this and 379 00:19:53,160 --> 00:20:05,600 Speaker 2: see if you can guess this one. Okay, any ideas? No, 380 00:20:05,880 --> 00:20:09,480 Speaker 2: they got me the face guys, All right, well you 381 00:20:09,480 --> 00:20:13,159 Speaker 2: can call again, okay on this one as well. We 382 00:20:13,520 --> 00:20:16,760 Speaker 2: let's see do we have another person who can continue 383 00:20:16,760 --> 00:20:18,479 Speaker 2: to play here? Maybe maybe Michael. 384 00:20:21,000 --> 00:20:23,280 Speaker 4: Guys, that's an easy one. Come on, I. 385 00:20:23,200 --> 00:20:27,040 Speaker 2: Thought so too. But California, Oh he got okay, yeah, yeah, yeah, 386 00:20:27,119 --> 00:20:30,440 Speaker 2: you did get You did guess that one. Our caller 387 00:20:30,520 --> 00:20:32,160 Speaker 2: was not able to guess it. But we have moved 388 00:20:32,200 --> 00:20:34,399 Speaker 2: on to another one that you might not have heard 389 00:20:34,920 --> 00:20:36,920 Speaker 2: because you were calling in. But take a listen now 390 00:20:36,960 --> 00:20:39,439 Speaker 2: to this track and see if you can guess the 391 00:20:39,480 --> 00:20:59,359 Speaker 2: baseline on solo. The solo that's so good right in 392 00:20:59,400 --> 00:21:06,439 Speaker 2: the pocket? Oh, I got it now, I think I 393 00:21:06,480 --> 00:21:08,399 Speaker 2: know what it is. Let's see the latter part that 394 00:21:08,840 --> 00:21:12,119 Speaker 2: is when I got it. Let us see if Michael knows. 395 00:21:13,000 --> 00:21:15,760 Speaker 4: Unfortunately I don't have it, guys, but it sounds like 396 00:21:15,800 --> 00:21:16,960 Speaker 4: the Temptations. 397 00:21:17,359 --> 00:21:19,840 Speaker 2: It does sound a little bit like Yeah, it's funny 398 00:21:19,880 --> 00:21:21,640 Speaker 2: like isolated. Do you want to stay on the line 399 00:21:21,680 --> 00:21:23,040 Speaker 2: while we while we tell you what it is? Or 400 00:21:23,080 --> 00:21:25,639 Speaker 2: should we go to uh Linda to see if she 401 00:21:25,680 --> 00:21:26,320 Speaker 2: can guess it? 402 00:21:27,960 --> 00:21:28,639 Speaker 6: Linda guesses. 403 00:21:28,720 --> 00:21:32,040 Speaker 2: All right, Linda, you are on kf I AM six forty. 404 00:21:32,600 --> 00:21:37,359 Speaker 2: Are you ready to play solo? The solo? Linda? Linda 405 00:21:37,440 --> 00:21:45,960 Speaker 2: might have fallen asleep. Oh wait, are you there? Linda? 406 00:21:46,000 --> 00:21:50,840 Speaker 2: Hold your phone up real high out the window. Well, 407 00:21:50,880 --> 00:21:53,240 Speaker 2: we got a break, maybe letter you can't go to 408 00:21:53,240 --> 00:21:56,240 Speaker 2: break before we get the answer. All right, Well, Linda, 409 00:21:56,280 --> 00:21:58,280 Speaker 2: I'm sorry we can't hear you. We have a bad 410 00:21:58,320 --> 00:22:01,320 Speaker 2: cell connection. But for all the people who are listening, 411 00:22:01,640 --> 00:22:04,360 Speaker 2: Jack Primavera and Mark Ronner on the count of three, 412 00:22:04,800 --> 00:22:08,040 Speaker 2: the artist is won't two three Steely Dan, and the 413 00:22:08,119 --> 00:22:11,680 Speaker 2: song is to do It Again, Do It Again? Yeah, exactly, 414 00:22:11,680 --> 00:22:13,960 Speaker 2: there you go. That is correct. We've got more solo 415 00:22:13,960 --> 00:22:15,760 Speaker 2: in the solo coming up after the break. 416 00:22:16,240 --> 00:22:19,680 Speaker 1: You're listening to KFI AM six forty on demand. 417 00:22:21,240 --> 00:22:23,240 Speaker 2: Got just a few minutes left here before I we'll 418 00:22:23,240 --> 00:22:25,840 Speaker 2: send you on your way. But I really appreciate everybody 419 00:22:25,840 --> 00:22:27,920 Speaker 2: who's called, who's been being a part of the show, 420 00:22:27,960 --> 00:22:30,000 Speaker 2: being a part of solo, the solo We've got one 421 00:22:30,040 --> 00:22:33,600 Speaker 2: more to do. Here the phone lines are open five 422 00:22:33,600 --> 00:22:35,840 Speaker 2: two zero one five three four that's one hundred five 423 00:22:35,840 --> 00:22:40,080 Speaker 2: two zero one k F. I here it is stand 424 00:22:40,119 --> 00:23:10,359 Speaker 2: By for Greatness, also released in nineteen seventy seven. Oh okay, 425 00:23:10,560 --> 00:23:12,639 Speaker 2: this is uh, this is a hard game. This is 426 00:23:12,640 --> 00:23:14,680 Speaker 2: a hard one. The bass is a new level, a 427 00:23:14,880 --> 00:23:16,719 Speaker 2: new level of this game. It's so much fun. I'm 428 00:23:16,720 --> 00:23:19,280 Speaker 2: glad we're doing it. Yeah, but it's different. It's and 429 00:23:19,600 --> 00:23:21,840 Speaker 2: I know that this is hard because you always know 430 00:23:22,400 --> 00:23:24,639 Speaker 2: these within a second, and I think that these have 431 00:23:24,680 --> 00:23:26,000 Speaker 2: been a little bit more challenging for you. 432 00:23:26,080 --> 00:23:27,680 Speaker 3: What's really fun about these is, like, you know, these 433 00:23:27,680 --> 00:23:29,800 Speaker 3: basslines are like throughout the song and they are like 434 00:23:30,160 --> 00:23:32,520 Speaker 3: they're buried, right, but like they aren't usually like you know, 435 00:23:32,760 --> 00:23:33,959 Speaker 3: like you said, they're buried exactly. 436 00:23:34,040 --> 00:23:35,880 Speaker 2: It's solo roner. Do you know this one? 437 00:23:36,200 --> 00:23:36,959 Speaker 4: You got me stumped? 438 00:23:37,040 --> 00:23:40,840 Speaker 2: Hmmm foosh. I thought I knew it, but then at 439 00:23:40,840 --> 00:23:43,520 Speaker 2: the end, I yeah, if you if you have the phone, 440 00:23:43,560 --> 00:23:45,960 Speaker 2: if you can call in the next three minutes one 441 00:23:46,040 --> 00:23:48,280 Speaker 2: hund five two zero one five three four five two 442 00:23:48,359 --> 00:23:51,240 Speaker 2: zero one KFI and you can guess what this sound is. 443 00:24:02,400 --> 00:24:04,040 Speaker 2: I will also say it's a group that's split up 444 00:24:04,800 --> 00:24:05,640 Speaker 2: that helps it all. 445 00:24:07,080 --> 00:24:07,280 Speaker 6: Down. 446 00:24:08,160 --> 00:24:11,760 Speaker 2: Well, it's also a hint. Let's listen to some talkbacks 447 00:24:11,760 --> 00:24:13,040 Speaker 2: while we wait for people to call in. 448 00:24:14,640 --> 00:24:17,280 Speaker 6: I was listening to the list. 449 00:24:18,680 --> 00:24:22,120 Speaker 2: Where did Swingers fall on that list? Great question? We're 450 00:24:22,119 --> 00:24:24,560 Speaker 2: talking about the one hundred and one most LA movies 451 00:24:24,600 --> 00:24:27,760 Speaker 2: according to the Los Angeles Times. Swingers was on the list. 452 00:24:27,880 --> 00:24:31,000 Speaker 2: It's fifty eight, number fifty eight. Do you think that 453 00:24:31,080 --> 00:24:35,160 Speaker 2: that's low or high? I think it's too high. Oh really, 454 00:24:35,240 --> 00:24:36,240 Speaker 2: you don't like the movie? Huh? 455 00:24:36,680 --> 00:24:40,240 Speaker 4: Do you think Swingers is better than point Break or Barton. 456 00:24:40,080 --> 00:24:41,560 Speaker 2: Fink or I don't know. 457 00:24:41,760 --> 00:24:44,680 Speaker 4: That's a tough thing, driver the Walter Hill, the driver 458 00:24:44,800 --> 00:24:46,199 Speaker 4: from seventy eight Get out of Here. 459 00:24:46,400 --> 00:24:48,639 Speaker 2: I would say that, like, there is an argument to 460 00:24:48,720 --> 00:24:53,159 Speaker 2: be made that Swingers is a better movie than Clueless, and. 461 00:24:55,080 --> 00:24:59,560 Speaker 4: I think that this is a little Okay, listen point 462 00:24:59,680 --> 00:25:04,320 Speaker 4: Blank from nineteen sixty seven, the Lee Marvin classic that's 463 00:25:04,400 --> 00:25:07,560 Speaker 4: number eighty two. Swingers is not better than point Blank? 464 00:25:07,680 --> 00:25:10,600 Speaker 2: Okay? Sure, but Clueless is four? 465 00:25:10,840 --> 00:25:10,959 Speaker 3: Right? 466 00:25:11,440 --> 00:25:12,720 Speaker 4: Yeah? Overvalued? 467 00:25:13,720 --> 00:25:17,119 Speaker 2: Pretty crazy, wild stuff for sure. I think Marshall has 468 00:25:17,200 --> 00:25:19,440 Speaker 2: called us, will we be able to get him? In 469 00:25:19,520 --> 00:25:22,240 Speaker 2: under the wire. Let him in to see if he 470 00:25:22,280 --> 00:25:25,720 Speaker 2: can guess the bass solo. We love Marshall. He calls 471 00:25:25,720 --> 00:25:27,960 Speaker 2: a lot, and we like that. We got we've got regulars. 472 00:25:28,440 --> 00:25:29,600 Speaker 2: Does that mean we have groupies? 473 00:25:30,080 --> 00:25:30,680 Speaker 5: Is that what that is? 474 00:25:31,400 --> 00:25:35,440 Speaker 2: Do you know what groupies do? I was in a band. No, 475 00:25:42,160 --> 00:25:44,520 Speaker 2: I don't know. If Marshall's making it through the screener here, 476 00:25:44,960 --> 00:25:47,240 Speaker 2: Nicky's like to give him the third degree. Got twenty 477 00:25:47,320 --> 00:25:53,360 Speaker 2: questions from over there. I don't know how about this one. 478 00:25:53,440 --> 00:25:56,680 Speaker 2: We'll do a different one. We got him, now, we 479 00:25:56,680 --> 00:25:58,480 Speaker 2: got him, Okay, all right, let's listen to Marshall. Marshall, 480 00:25:58,480 --> 00:26:00,520 Speaker 2: do you have an answer for us on solo? Solo? 481 00:26:02,359 --> 00:26:03,840 Speaker 2: I thought I was gonna get an extra second. I 482 00:26:03,880 --> 00:26:05,920 Speaker 2: thought it was an obo for the instrument, because he 483 00:26:05,960 --> 00:26:07,800 Speaker 2: said an instrument, so I thought I was an obo. 484 00:26:08,200 --> 00:26:10,080 Speaker 2: Well it's not an obo. It's a bass guitar. But 485 00:26:10,160 --> 00:26:11,919 Speaker 2: I'll tell you what. I'll play it for you one 486 00:26:11,960 --> 00:26:14,800 Speaker 2: more time and if you can guess it, all all 487 00:26:14,880 --> 00:26:33,960 Speaker 2: of the appreciation and respect goes to you. I have 488 00:26:34,080 --> 00:26:36,040 Speaker 2: a thought, Well, let's see if Marshall noes. 489 00:26:38,400 --> 00:26:39,440 Speaker 6: Me it is not. 490 00:26:39,920 --> 00:26:41,480 Speaker 2: But thank you for Colin. We got a couple more 491 00:26:41,520 --> 00:26:43,320 Speaker 2: people to still guess here before we're out of time. 492 00:26:43,720 --> 00:26:47,239 Speaker 2: Call back anytime, Marshall. Great to hear from you, my friend. Listen. Uh, 493 00:26:47,440 --> 00:26:51,879 Speaker 2: we've got Mark from Japan, longtime caller as well. How 494 00:26:51,920 --> 00:26:55,280 Speaker 2: you doing tonight, sir? Yes, not too bad. How are 495 00:26:55,320 --> 00:26:58,480 Speaker 2: you great? Do you have an answer for us? I 496 00:26:58,600 --> 00:27:00,760 Speaker 2: think I do? Is that crazy on you? 497 00:27:00,880 --> 00:27:01,280 Speaker 5: By heart? 498 00:27:02,000 --> 00:27:07,800 Speaker 2: Great? Guess that is not it? Okay, sorry, but thanks 499 00:27:07,840 --> 00:27:11,120 Speaker 2: for playing zero for today. Then thank you. Listen, you're 500 00:27:11,160 --> 00:27:12,800 Speaker 2: You're more than welcome to call next week and we'll 501 00:27:12,840 --> 00:27:16,040 Speaker 2: keep We'll keep the magic alive, all right. 502 00:27:16,119 --> 00:27:16,359 Speaker 5: Thanks? 503 00:27:16,440 --> 00:27:18,440 Speaker 2: No bass next week though, now I'll go back to 504 00:27:20,359 --> 00:27:20,679 Speaker 2: hard one. 505 00:27:20,800 --> 00:27:21,000 Speaker 6: Yeah. 506 00:27:21,280 --> 00:27:23,240 Speaker 2: I think guitars are going to be easier. Guitars will 507 00:27:23,240 --> 00:27:25,200 Speaker 2: be easier. I think piano one week too. Yeah. I 508 00:27:25,200 --> 00:27:29,760 Speaker 2: will never do drums because that's just rude. Four the 509 00:27:29,840 --> 00:27:32,600 Speaker 2: floor beat over and over again, drum so that you 510 00:27:33,480 --> 00:27:36,760 Speaker 2: really hard talk about guitar center on a Saturday the 511 00:27:36,880 --> 00:27:38,879 Speaker 2: Nightmare play them like one in the left speaker and 512 00:27:39,040 --> 00:27:42,960 Speaker 2: a different track on the right speaker. This is, like 513 00:27:43,080 --> 00:27:49,080 Speaker 2: I said, a group that broke up. Sometime after this 514 00:27:49,200 --> 00:27:51,720 Speaker 2: song was released, there was a lot of speculation on 515 00:27:51,840 --> 00:27:53,560 Speaker 2: what happened. And the reason I said they broke up 516 00:27:53,640 --> 00:27:58,400 Speaker 2: is because they ended up. Oh, I thought going their 517 00:27:58,520 --> 00:28:01,480 Speaker 2: own way. I thought it was the Yes, it is 518 00:28:01,520 --> 00:28:08,000 Speaker 2: Fleetwood Mac, go your own way. That was my guestlud 519 00:28:08,040 --> 00:28:11,560 Speaker 2: break up. I was like, that's good. Solo the solo 520 00:28:11,800 --> 00:28:15,119 Speaker 2: for this Friday, February sixth, Thanks so much for playing, 521 00:28:15,359 --> 00:28:17,600 Speaker 2: Thanks so much for calling in, Thanks so much for listening, 522 00:28:17,640 --> 00:28:19,560 Speaker 2: even if you were just hanging out there. I hope 523 00:28:19,600 --> 00:28:21,560 Speaker 2: you have a wonderful night rain on the way next 524 00:28:21,600 --> 00:28:24,560 Speaker 2: week here in southern California, so enjoy the beautiful weekend 525 00:28:24,600 --> 00:28:29,160 Speaker 2: ahead while you can. I am Andy Reesmeyer. We'll see 526 00:28:29,200 --> 00:28:33,520 Speaker 2: you back here on Monday night at seven pm, same 527 00:28:33,600 --> 00:28:35,800 Speaker 2: bat time, same bat place. This is kf I AM 528 00:28:35,880 --> 00:28:39,000 Speaker 2: six forty. We're live everywhere on the iHeartRadio app kf 529 00:28:39,080 --> 00:28:41,160 Speaker 2: I AM six forty on demand